Saturday October 18 2014 21:30


Kindly supported by INM

Kees Tazelaar (July 27, 1962) was taught at the Institute of Sonology from 1981 to 1983 (Utrecht) and from 1987 to 1989 (The Hague). He subsequently studied composition with Jan Boerman at the Royal Conservatory in The Hague, graduating in 1993. Since then Tazelaar has been teaching at the Institute of Sonology. He is head of Sonology since June 2006.
In addition to his own autonomous works, he has contributed to music theatre projects by Dick Raaijmakers (Die glückliche Hand geöffnet, Scheuer im Haag) and Theatergroep Hollandia (Perzen, Varkensstal).
In recent years he has also been occupied intensively in the restoration and reconstruction of major electronic works from the past. In his specially equipped studio new versions have been made of compositions by Gottfried Michael Koenig (Klangfiguren II, Essay, Terminus), Jan Boerman (Kompositie 1972, Ruïne), Edgard Varèse (Poème Électronique), Iannis Xenakis (Concret P-H), György Ligeti (Pièce Électronique no.3, Artikulation), Luctor Ponse (Concerto voor Piano en Band).
Since June 2005, Tazelaar is a visiting research fellow of the University of Bath, UK, and as such participated in the VEP (Virtual Electronic Poem) project.
During the winter semester of 2005-2006, Kees Tazelaar filled the Edgard Varèse Guest Professorship at the Technical University of Berlin.


Marianne Dekker (*1953) studied painting and graphic arts at the Royal Academy of Art in The Hague. Her work consists of drawings and paintings (small to medium sized) and short digital animations based on stills and videos.
After her studies she used strong colours and figurative images. Then came a period of drawing more sober coloured geometrical lines, characters and signs, after which her work became completely abstract. In her current work, colours are more exuberant again.
In 2004 she started photographing in her studio. She takes pictures and makes films of (details of) her own drawings and of small daily life objects. She uses these pictures as material for making animation movies. The electronic music for these animations is made by composer Kees Tazelaar.
Videowork has been presented at Metropoliskino in Hamburg, Tesla Galerie in Berlin, the 2009 Shanghai Electroacoustic Music Week, the Contemporary Museum of the National University in Mexico City (MUAC), the Institute for Contemporary Interdisciplinary Arts at the University of Bath and Fylkingen in Stockholm.


Sergio Luque is a composer of vocal, instrumental and electroacoustic music, and a computer music researcher. He lives in Madrid where he co-directs and teaches in the Master in Electroacoustic Composition program at the CSKG, and he is a guest lecturer at the Royal Conservatory in The Hague.
His music has been performed by the Schönberg Ensemble, the Nieuw Ensemble, Garth Knox, the Birmingham Contemporary Music Group and Les Jeunes Solistes, among others, and has been presented in the United Kingdom, the Netherlands, Germany, France, Switzerland, Austria, Spain, the United States, Mexico, Cuba, El Salvador, Costa Rica, Chile, Argentina, Japan and Australia.
He has given lectures and workshops on algorithmic composition, sound synthesis, stochastic synthesis and SuperCollider in: Barcelona (Escola Superior de Música de Catalunya), Berlin (Technische Universität and Universität der Künste), Buenos Aires (Centro Cultural cheLA), Cologne (Universität Köln), The Hague (Royal Conservatory), London (Goldsmiths, University of London), Madrid (Medialab Prado and Museo Nacional Centro de Arte Reina Sofía), Mexico City (Centro Nacional de las Artes) and Morelia (Centro Mexicano para la Música y las Artes Sonoras).
He has received grants and prizes from the University of Birmingham (United Kingdom), the Fondo Nacional para la Cultura y las Artes (Mexico), the Schönberg Ensemble (Netherlands) and the Centre Acanthes (France).
He has a PhD in Musical Composition from the University of Birmingham, where he studied with Jonty Harrison and Scott Wilson, and was a member of BEAST (Birmingham Electroacoustic Sound Theatre). During his PhD, he worked on the development of Iannis Xenakis’s stochastic synthesis and of the BEASTmulch software (a tool for the presentation of electroacoustic music over multichannel systems).
In 2006, he received a Master’s Degree with Distinction in Sonology, with specialization in Composition, from the Institute of Sonology at the Royal Conservatory in The Hague, studying with Paul Berg and Kees Tazelaar. In 2004, he received a Master’s Degree in Composition from the Conservatory of Rotterdam, studying with Klaas de Vries and René Uijlenhoet.


Alberto De Campo

Concert Title: Metacontrol Studies
Description: Based on recent experiments with more indirect forms of control (‘Lose control, gain influence’), this performance will be an attempt to formulate a balance between gradually relinquishing control of the sounding processes in play and handling the ensuing surprises gracefully.

Bio: Alberto de Campo is a composer and performer, and teaches Generative Art/Computational Art. He explores a wide range of topics in collaborations with other artists and students: Code-based network music performance, biologically informed/inspired art such as the project Varia Zoosystematica, hybrid audiovisual performance instruments and interactive systems, and improvisation strategies in different contexts. Since 2009, he is Professor for Generative Art/Computational Art at the University for the Arts Berlin.


Alex Mendizabal (Donostia, 1961. Does as romans do)

Seven crickets in one and a half tone, as a pendulum

Passive sonar listens without transmitting music deals with passive listening

A bird call that might shift two distant points accelerates the close action of an oscillator (not the retro action)